TATLIN NEWS #48

Желая изменить привычное значение, видимость, ценность пред- метов, концептуальная давильня паркер препоручает их одной об- щей судьбе: выведение благородного металла из оборота порожда- ет валюту воображения. | Wishing to change the prosaic meaning, appearance, value of things, the Parker’s conceptual press turns them over to one shared fate: withdrawal of noble metal from circulation generates the currency of imagination.

all the junk, and then collected the wreckage and reversed the time by reassembling it frozen as if at the moment of detona- tion. In that freeze-frame of the little Big Bang she realized the inbred curiosity for the contemporary physical theory of cosmogenesis, having applied it to the very terrestrial devotion of Brits to gardening. The luminous bulb in the middle of the explosion exposes the mysterious dark matter by throwing the shadows of the orbiting wood planks and utensils in the gal- lery space. The magic lantern combined with the shadow play makes the inexpressible moment of the universe origination in- timate and private. The variation of suspensions and experiments with objects in 1995 peaked in the intriguing incarnation in the perform- ance installation «The Maybe». During seven days, 8 hours a day running, in front of eyes of numerous visitors of the Ser- pentine Gallery actress Tilda Swinton slept in a glass case like the sleeping beauty in her crystal coffin – but wearing jeans and slippers. Naturally – the girl just snoozed between the floor and the ceiling. The vigorous ‘material’ character of the dream- ing flying-away soul looks like a simultaneous polemic with the Hirst’s dead animals soaring in formaldehyde aquaria. Nevertheless, the melancholic line of loss is quite common to Cornelia Parker as well. While shifting her attention to architec- ture, she often finds it in a peculiar aggregative state – ruins, debris, remains and ashes. Thus, the work «Neither from nor Towards» (1992) embod-

duces the effect of matter released from the power of form and sense, from the weight of mind. Having started her experiments with weighing objects from ceiling, Parker used to rely on the metaphor of pendulum as a characteristic witness of the in- visible, i.e. the gravity force. And she set special affections to comparing pendulum to the water-diviner tool, which provides an artist with sensing the presence of clandestine areas of the unconscious – in the same manner as an extrasensory nature succeeds in scanning the underworld. Cornelia Parker is distinguished for her fixed interest to space-suspended matters. «I`ve never made a solid grounded sculpture; I am more interested in the space within and around the mass, in atmosphere, in anti-matter. It is as if I am trying to make things vaporous so I can breathe them in and then exhale». Such advertence to the ephemeral underlay of reality is fed by architectonic forces – thus, Parker used to be inspired by the instance of Gaudy, who came up with building the models of his upside-down irrational buildings by hanging the pieces of lead and canvas to the ceiling and then overturning the obtained shapes and gaining the inverse result opposite to gravitation. Hence, quite organic was the transition to disintegration of architecture structures – the installation called «Cold Dark Mat- ter: An Exploded View», 1991, became an outstanding achieve- ment of the artist. With the support of army engineers (almost in the gallery ‘white cube’) Parker blew up a garden shed with

априорное хранилище торжественной челове- ческой социальности и этикета, недрогнувшей рукой пущены под паровой каток. И, как вся- кое большое искусство, ключевой мотив Кор- нелии – тоже родом из детства. Раздавленный столовый прибор возвращает забытое удивле- ние у всякого, кто подкладывал монетки на же- лезнодорожные рельсы. Хотя после этого уже нельзя потратить карманные деньги, вы сохра- няете память серебра ради него самого. Же- лая изменить привычное значение, видимость, ценность предметов, концептуальная давильня Паркер препоручает их одной общей судьбе: выведение благородного металла из оборота порождает валюту воображения. С точки зре- ния художника – вещи приобретают больший потенциал, когда их повседневное значение выветривается, удаляется. Процесс выдавли- вания из «иудиного» серебра «раба» вплотную подводит Паркер к мыслям о материи и анти- материи, а также – смерти и воскрешении. В этой инсталляции найден еще один су- щественный визуальный ресурс – взаимная игра света и тени. Близкое соседство свер- кающей поверхности уплощенного предмета с четким силуэтом его же тени на полу субли- мирует вещь до ее знака-двойника и, с другой

«Тридцать частей серебра», 1988 | Thirty Pieces of Silver, 1988

70 тАтLIN news 6|48|65 2008